IMDb > Shaft (1971)
Shaft
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Shaft (1971) More at IMDbPro »

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Shaft -- Watch the trailer for Shaft, starring Richard Roundtree.

Overview

User Rating:
6.6/10   10,608 votes »
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Director:
Writers:
Ernest Tidyman (screenplay) and
John D.F. Black (screenplay) ...
(more)
Contact:
View company contact information for Shaft on IMDbPro.
Release Date:
2 July 1971 (USA) See more »
Genre:
Tagline:
The mob wanted Harlem back. They got shaft...up to here. See more »
Plot:
Cool black private eye John Shaft is hired by a crime lord to find and retrieve his kidnapped daughter. Full summary » | Add synopsis »
Awards:
Won Oscar. Another 4 wins & 4 nominations See more »
NewsDesk:
(15 articles)
User Reviews:
A historic film, but not a good one See more (72 total) »

Cast

  (in credits order) (verified as complete)

Richard Roundtree ... John Shaft

Moses Gunn ... Bumpy Jonas
Charles Cioffi ... Vic Androzzi
Christopher St. John ... Ben Buford
Gwenn Mitchell ... Ellie Moore

Lawrence Pressman ... Tom Hannon
Victor Arnold ... Charlie
Sherri Brewer ... Marcy
Rex Robbins ... Rollie
Camille Yarbrough ... Dina Greene
Margaret Warncke ... Linda
Joseph Leon ... Byron Leibowitz
Arnold Johnson ... Cul
Dominic Barto ... Patsy
George Strus ... Carmen
Edmund Hashim ... Lee
Drew Bundini Brown ... Willy
Tommy Lane ... Leroy
Al Kirk ... Sims
Shimen Ruskin ... Dr. Sam

Antonio Fargas ... Bunky
Gertrude Jeannette ... Old Lady
Lee Steele ... Blind Vendor
Damu King ... Mal
Donny Burks ... Remmy
Tony King ... Davies
Benjamin R. Rixson ... Bey Newfield
Ricardo Brown ... Tully
Alan Weeks ... Gus
Glenn Johnson ... Char
Dennis Tate ... Dotts
Adam Wade ... Brother #1
James Hainesworth ... Brother #2
Clee Burtonya ... Sonny
Ed Bernard ... Peerce

Eddie Barth ... Tony (as Ed Barth)
Joe Pronto ... Dom
Robin Nolan ... Waitress
Ron Tannas ... Billy
Betty Bresler ... Mrs. Androzzi
Gonzalo Madurga ... Counterman
Paul Nevens ... Elevator Man
Jon Richards ... Elevator Starter
rest of cast listed alphabetically:

Gordon Parks ... Apartment Landlord (uncredited)
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Directed by
Gordon Parks 
 
Writing credits
Ernest Tidyman (screenplay) and
John D.F. Black (screenplay)

Ernest Tidyman (novel)

Produced by
Joel Freeman .... producer
David Golden .... associate producer
Roger Lewis .... producer (uncredited)
Stirling Silliphant .... executive producer (uncredited)
Ernest Tidyman .... executive producer (uncredited)
 
Original Music by
Isaac Hayes 
J.J. Johnson 
 
Cinematography by
Urs Furrer (director of photography)
 
Film Editing by
Hugh A. Robertson 
 
Casting by
Judith Lamb 
 
Art Direction by
Emanuel Gerard 
 
Set Decoration by
Robert Drumheller 
 
Costume Design by
Joseph G. Aulisi  (as Joe Aulisi)
 
Makeup Department
Martin Bell .... makeup artist
 
Production Management
Steven P. Skloot .... unit production manager (as Steven Skloot)
David Golden .... production supervisor (uncredited)
 
Second Unit Director or Assistant Director
Ted Zachary .... assistant director
Kurt Baker .... second assistant director (uncredited)
Alan R. Green .... dga trainee (uncredited)
Allan Wertheim .... second assistant director (uncredited)
 
Art Department
Hal Bock .... chief carpenter (uncredited)
Robert Hart .... chief construction grip (uncredited)
Jack Wright Jr. .... props (uncredited)
 
Sound Department
Lee Bost .... sound
Hal Watkins .... sound
Charles Geller .... sound recordist (uncredited)
Robert Rogow .... boom man (uncredited)
 
Stunts
Bob Herron .... stunts (uncredited)
Tommy Lane .... stunts (uncredited)
Joe Pronto .... stunts (uncredited)
 
Camera and Electrical Department
Louis Gerolomi .... gaffer (uncredited)
Ronald M. Lautore .... camera operator (uncredited)
Randy Munkacsi .... still photographer (uncredited)
Larry Orlick .... assistant camera (uncredited)
Ed Quinn .... second grip (uncredited)
Robert Royal .... key grip (uncredited)
Jack Volpe .... dolly grip (uncredited)
Ron Zarilla .... second assistant camera (uncredited)
 
Casting Department
Sylvia Fay .... extras casting
 
Costume and Wardrobe Department
Celia Bryant .... wardrobe supervisor (uncredited)
 
Editorial Department
Paul L. Evans .... assistant editor
 
Music Department
Tom McIntosh .... technical assistant to composer
Mayuto Correa .... musician (uncredited)
Charles 'Skip' Pitts .... musician (uncredited)
 
Transportation Department
James Fanning .... transportation captain (uncredited)
 
Other crew
Bud Brown .... auditor (uncredited)
Ozzie Brown .... unit publicist (uncredited)
Cle Kent .... script supervisor (uncredited)
Tom Miller .... unit publicist (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
100 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Brazil:14 | Canada:R (Manitoba/Ontario) | Canada:14 (Nova Scotia) | Canada:13+ (Quebec) | Finland:K-16 | France:U | Iceland:16 | Italy:T | Netherlands:16 (video rating) | Norway:16 | Peru:14 | South Korea:15 | Sweden:15 | UK:15 | UK:X (original rating) | USA:R | West Germany:16

Did You Know?

Trivia:
During the scene where Bumpy Jonas visits Shaft at his office, a door adjacent to the office says "Skloot Insurance" - named for Steven P. Skloot, a production manager on the film.See more »
Goofs:
Continuity: At the beginning of the movie, in Shaft's office, Shaft changes back and forth between a lighter brown coat and a dark coat. The difference can be seen by noticing the horizontal seam on the back of each coat, one is straight and the other is not.See more »
Quotes:
[first lines]
John Shaft:[holding up his middle finger to a cab driver who is honking his horn at him] Up yours! Get out the way!
See more »
Movie Connections:
Soundtrack:
SoulsvilleSee more »

FAQ

This FAQ is empty. Add the first question.
7 out of 11 people found the following review useful.
A historic film, but not a good one, 3 April 2004
Author: James Hitchcock from Tunbridge Wells, England

`Shaft' was a ground-breaking film in its day, but its interest for a modern audience is largely historical. For several decades, Hollywood had operated an unofficial colour bar, with black actors being confined to minor roles, often as servants or working-class characters. Things had started to change somewhat in the sixties, with black actors starting to appear alongside whites in major roles. `In the Heat of the Night' is a good example, but even here Sidney Poitier does not carry the film on his own. A white actor, Rod Steiger, is given equal prominence alongside him. Moreover, this is an `issue' movie with a race-relations theme- the sort of film in which one might expect to find a black actor taking a leading role.

`Shaft' takes the process a stage further. Both the star, Richard Roundtree, and most of the supporting cast, are black. White actors are only seen in comparatively minor roles. Although the film is centred upon New York's black community, it is not specifically an `issue' movie about racism in the way that `In the Heat of the Night' is. A black man is seen, for almost the first time, as not only the main focus of the film but also as a strong, confident man of action. The hero John Shaft, a black private detective, triumphs over white villains; there is even a mixed-race love scene between him and a white woman, something which Hollywood would tend to shy away from even today, and which must have seemed particularly shocking in the early seventies.

Unfortunately, when seen as a film rather than as a historical landmark, `Shaft' is not particularly good. The plot, which concerns Shaft's search for a gangster's kidnapped daughter and ends with him tangling with the Mafia, is routine private eye stuff. Richard Roundtree makes a cool, stylish hero, but the rest of the cast are not up to his standard. The direction also struck me as having been poorly handled, particularly the action scenes. The film seems to have been made on a low budget, and it shows. There are similarities to other `tough guy' detective films of the era, such as `The French Connection', `Bullitt' and the `Dirty Harry' series (all of which featured white protagonists) but all of those were much more professionally handled. Many of my criticisms of `Shaft' could, in fact, be made, with even greater force, against the `blaxploitation' genre is general. Nevertheless, those films pointed the way that later black actors were to follow. When we consider that the likes of Denzel Washington, Morgan Freeman and Samuel Jackson have become major stars in all sorts of roles, not merely as action heroes, we realise that a debt is owed to films like `Shaft'. 5/10.

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